Covers you would love to hear Joe do (Page 18 of 37)

Crossroads, I've never been more jealous of anyone in my entire life.....damn you!!

Closest I got was a show in Pittsburgh in 1970 (I think...) on the tour that Jeremy Spencer booked out of, and Greeny filled in after leaving the band.  That remains to this day a truly religious experience for me, and without a doubt the finest show I have EVER seen, bar none.  (Sorry Joe, but yer walkin' in some mighty big footprints...)

I can't even begin to imagine how thangs would have turned out for him had it not been for his particular excess in trying to expand his awareness.  As it is, he's still got it, even after having to teach himself how to play all over again, and working with a few less firing neurons.....

His tone is still a benchmark.....

Show Biz Blues would be a STELLAR cover, Joe.....

Couldn't find Greeny doin' it, but here's Rory's tribute:

http://www.youtube.com/watch?v=2pNrbE0T_nI

From what I've read, there was more LSD (and electric shock therapy) when he was institutionalized to "fix" what the LSD had done to him in the first place.  And, according to quotes from McVie and Fleetwood, it wasn't merely a "trip" that put him there, it was an ongoing lifestyle.....

But I did read an interview with Peter Green, that probably took place about 10 years ago, where he stated that he had to teach himself to play all over again.

Maybe Crossroads has a better perspective, since he's closer to where it all occured.....

From what I have read, Danny, he got to a point where he wanted to not only give all his money away, but to have the rest of the band give theirs away as well.  Of course they balked at that idea.  Not sure if that was the reason for his leaving the band.  But I've also read that after either threatening to shoot at, or actually shooting at, a postman trying to deliver royalty checks, his family (I think...) had him institutionalized as a paranoid schitzophrenic.....

I'll see if I can find the links later.....right now I smell burgers at the neighbors, and I gots me an invite.....

Just to stay on topic here:

Fast Talkin' Woman Blues.....Joe??

I'm pretty sure Greeny wants it that way, Danny.  I mean, if I was locked up as a P/S, I'm not sure I'd want the whole world to know about the details either.....

I just got home from the BBQ, and don't feel much like lookin' for those links at the moment.....but I will tomorrow, I promise.  I understand the passion you have for him.

(btw, not sure about lately, but he did tour recently (within 5-10 years, I think...) with his "new" band The Splinter Group with Nigel Watson.....they do a SWEET version of "Goin' Down".....)

I did do a quickie though, and although it's something I already knew.....I think it bears pointing out to those that don't.....

Peter Green (born Peter Allen Greenbaum, 29 October 1946, in Bethnal Green, London) is a British blues-rock guitarist and founder of the band Fleetwood Mac.

A figurehead in the British blues movement, Green inspired B. B. King to say, "He has the sweetest tone I ever heard; he was the only one who gave me the cold sweats." Green's playing was marked with a distinctive vibrato and economy of style, as well as a unique tone from his 1959 Gibson Les Paul.[1] - a result of the guitar's neck pickup magnet being reversed to produce an 'out of phase' sound. He used a Fender Stratocaster on the track Albatross, and used a National resonator guitar on Oh Well Part I.

In my mind, he's a god.....

<<How cool would it be if Joe pulled a couple songs from this thread for upcoming shows?>>

It would make my decade, Danny.....

Joe, seriously.....listen to "If You Let Me Love You" (live) from the Man of the World anthology.....I think it's from the Boston Tea Party gig.....

THAT'S Peter Green's tone.....THAT'S what Les Paul intended.....and THAT'S what YOU can do too.....

SRV / Musicinmysoul,

One of the problems with Macs initial four man line up was that Jeremy Spencer played a slide guitar in open tuning which was a problem when Green was using different guitar tunings for minor key blues.The band was reduced to a trio.A very young Danny Kirwan was brought in to play second guitar for Greeny.This changed the band a bit as Jeremy was a die hard Elmore blues man and Mac would , from then on, venture into much more complicated Rock. From playing straight hard blues they ended up playing (for eg) Man of the World with Green and Kirwan dubbing 20 guitar takes on to an 8 track recorder.
Albatross was a track that Danny Kirwan pushed Greeny into doing.It was released in November 1968 .Of course , for the first time the band had a bit of money from a no1 (At least on this side of the pond) and they upgraded a lot of their kit.Around the time of the release of Albatross they were touring the States and bought back to the UK a whole lot of Orange Amps and Cabs which were the 'in thing' of the time.They came back to the UK in February 1969 and between then and the Summer I saw them for the last time.I remember it well.I was 14 and the venue was so packed that although I was 'standing' , my feet were not actually on the floor !
As regards other comments on 'money' , Greeny only wanted to be 'in a band'.The track Green Manalishi is his drug induced nightmare involving 'greenbacks' killing the band.I understand that Pete Green, destroyed by LSD , hid himself away for many years in a small room in West london just off the A4 and stayed housebound .There was a rumour that he would not cut his nails for many years.He was certainly in better shape in 1979/1980 when In the Skies was released.

Wow, I've always known Fleetwood Mac to be Green and Kirwan, I didn't know they had had a different second guitarist. I had always thought that Green's break down had been caused by one particular LSD binge, but it makes more sense that it was brought on through years of use.

Guys, if you are interested in knowing more about Peter Green you should read this authroised biography byt Martin Celmins. I think it is a great read. Some of it though is very sad, including an interview with Danny Kirwan living in a homeless hostel in London.

http://www.amazon.co.uk/Peter-Green-Fle … amp;sr=1-2

By the way, it was not the postman trying to give the royalty cheque, it was his manager.

One fantastic Peter green song that is pretty unheard of is "Out Of Reach". He recorded it with John Mayall (although it is Green who sings vocals on it) and is an early insight into his mental state. It was opening song to the film City by the Sea. The song can be found on the album Thru The Years which is a collection of rare tracks. You will find it here:

http://www.amazon.co.uk/Thru-Years-John … amp;sr=1-1

Out of reach is a track I'd love to hear Joe do.

Here is what Richie Unterberger at allmusic.com wrote about it:

"Out of Reach" originally appeared on the B-side of a non-hit single in early 1967. Though credited to John Mayall & the Bluesbreakers, this is really fronted by Peter Green, who wrote and sang the song. While it's since been made readily available on album reissue, it still remains frightfully unknown, even to many blues-rock, Mayall, and Green fans. Despite its obscurity, it endures as the first real full flowering of Green's peculiar brand of tortured genius. "Out of Reach," melodically, is a basic blues; there's nothing extraordinary about its chord structure, other than perhaps a greater emphasis on minor chords than most blues. What is extraordinary, though, is the eerie arrangement. It's hard to take a blues song, or a song in any popular music idiom, slower than "Out of Reach" is taken by the Bluesbreakers. The tempo is a lurching dirge-shuffle, one of the guitar parts wavering between notes as if it's part of an old tape that's wearing out and speeding up and down due to technical problems. That effect is deliberate, though, adding some otherwordly despair to Green's icily reverbed lead guitar licks. The lyrics, sung movingly if gruffly by Green, are even by the standards of the blues downcast, almost to the point of hinting at a suicidal state of mind. The foggy gloom is magnified by the drawn-out, hypnotic tempo, periodically punctuated by parts at which the band comes to a stuttering halt for Green to deliver particularly emotional lines of the verse. The solo sparkles, especially at the very end, when it descends and almost trails off into nothingness, ending on a whimsical note progression that very few standard blues guitarists would have chosen. Green's final sides with Fleetwood Mac have long been analyzed for their indication of a troubled mind whose demons were getting the better of him, causing him to question the whole meaning of his life. "Out of Reach," seldom brought into such commentaries, indicates that his propensities for such work were already in evidence in his Bluesbreakers days and stands up to most of his best Fleetwood Mac work in its level of bummed-out brilliance.
http://www.allmusic.com/cg/amg.dll?p=am … ftxqtdld6e

Good Morning Little Schoolgirl. Everyone else has done it